The Mountebank

by William John Locke

To realize Petit Patou in the British General of Brigade, we must turn to the manuscript mentioned at the beginning of this story.

We meet him, a raw youth, standing, one blazing summer day on the Bridge of Avignon. He insists on this episode, because, says he, the bridge is associated with important events in his life. It was not, needless to remark, the Pont d'Avignon of the gay old song, for the further arch of that was swept away by floods long ago, and it now remains a thing of pathetic uselessness. Three-quarters of the way across the Rhone might you go, and then you would come to abrupt nothingness, just the swirling river far below your arrested feet. It was the new suspension bridge, some three hundred yards further up, sadly inharmonious with the macchiolated battlements of the city and the austere mass, rising above them, of the Palace of the Popes on the one side, and, on the other, the grey antiquity of the castle of Villeneuve brooding like an ancient mother over its aged offspring, the clustering sun-baked town. The joyous generation of the Old Bridge has long since passed away, but to the present generation the New Bridge affords the same wonder and delight. For it entices like the old, from stifling streets to the haunts of Pan. There do you find leafy walks, and dells of shade, and pathways by the great cool river leading to sequestered spots where you may sit and forget the clatter of flagstones and the stuffy apartment above them for which the rent is due; where the air of early June is perfumed by wild thyme and marjoram and the far-flung sweetness of new mown hay, and where the nightingales sing. So, whenever it can, all Avignon turns out, as it has turned out for hundreds of years, on its to and fro adventure across the Bridge of Promise.

It was on a Sunday afternoon when young Lackaday stood there, leaning moodily over the parapet, regarding it not as a bridge of Promise, but as a Bridge of Despair. He had fled from the dressing-room of the little music-hall just outside the city walls, which he shared with three others of the troupe, from its horrible reek of escaping gas and drainage and grease-paint and the hoarded human emanations of years, and had come here instinctively to breathe the pure air that swept down the broad stream. He had come for rest of mind and comfort of soul; but only found himself noisily alone amid an unsympathetic multitude.

He had failed. He had learned it first from the apathy of the audience. He had learned it afterwards from the demeanour and the speech far from apathetic of the manager and leader of the troupe. They were a company of six, Les Merveilleux, five jugglers, plate spinners, eccentric musicians, ventriloquists, and one low comedian. Lackaday was the low comedian, his business to repeat in burlesque most of the performance of his fellow artists. It was his first engagement, outside the Cirque Rocambeau, his first day with the troupe. Everything had gone badly. His enormous lean length put the show out of scale. The troupe, accustomed to the business of a smaller man, whose sudden illness caused the gap which Lackaday came from Paris to fill, resented the change, and gave him little help. They demanded impossibilities. Although they had rehearsed--and the rehearsals had been a sufficient nightmare of suffering--everybody had seemed to devote a ferocious malice to his humiliation. Where the professional juggler is accustomed to catch things at his hip, they threw them at his knees; they appeared to decide that his head should be on the level of his breast. The leading lady, Madame Coinçon, wife of the manager, a compact person of five foot two, roundly declared that she could not play with him, and in his funniest act, dependent on her co-operation, she left him to be helplessly funny by himself. The tradition of the troupe required the comedian to be attired in a loud check suit, green necktie and white felt bowler hat. On the podgy form of Lackaday's predecessor it produced its comic effect. On the lank Lackaday it was characterless. In consequence of all this, he had been nervous, he had missed cues, he had fumbled when he ought to have been clear, and been clear when he ought comically to have fumbled. He had gone about his funny business with the air of a curate marrying his vicar to the object of his hopeless affections.

And Coinçon had devastatingly insulted him. What worm was in the head of Moignon (the Paris music-hall agent) that he should send him such a monstrosity? He wasn't, nom de Dieu, carrying about freaks at a fair. He wanted a comedian and not a giant. No wonder the Cirque Rocambeau had come to grief, if it depended on such canaries as Lackaday. Didn't he know he was there to make the audience laugh?--not to give a representation of Monsieur Mounet-Sully elongated by the rack.

"Hop, man petit," said he at last. "F---- moi le camp," which is a very vulgar way of insisting on a person's immediate retirement. "Here is your week's salary. I gain by the proceeding. The baggage-man will see us through. He has done so before. As for Moignon--"

Although Lackaday regarded Moignon as a sort of god dispensing fame and riches, enthroned on unassailable heights of power, he trembled at the awful destiny that awaited him. He would be cast, like Lucifer from heaven. He would be stripped of authority. Coinçon's invective against him was so terrible that Lackaday pitied him even more than he pitied himself. Yet there was himself to consider. As much use to apply to the fallen Moignon for an engagement as to the Convent of the Daughters of Calvary. He and Moignon and their joint fortunes were sent hurtling down into the abyss.

On the parapet of the Bridge of Despair leant young Lackaday, gazing unseeingly down into the Rhone. His sudden misfortune had been like the stunning blow of a sandbag. His brain still reeled. What had happened was incomprehensible. He knew his business. He could conceive no other. He had been trained to it since infancy. There was not a phase of clown's work with which he was not familiar. He was a passable gymnast, an expert juggler, a trick musician, an accomplished conjurer. All that the Merveilleux troupe act required from him he had been doing successfully for years. Why then the failure? He blamed the check suit, the ill-will of the company, the unreason of Madame Coinçon....

It did not occur to him that he had emerged from an old world into a new. That between the old circus public and the new music-hall public there was almost a generation's change of taste and critical demand. The Cirque Rocambeau had gone round without perceiving that the world had gone round too. It wondered why its triumphant glory had declined; and it could not take steps to adapt itself to the new conditions which it could not appreciate. Everyone grew old and tradition-bound in the Cirque Rocambeau, even the horses, until gradually it perished of senile decay. Andrew Lackaday carrying on the traditions of his foster father, the clown Ben Flint, had remained with it, principal clown, to the very end. Now and then, rare passers through from the outer world, gymnasts down on their luck, glad to take a makeshift engagement while waiting for better things, had counselled him to leave the antiquated concern. But the Cirque Rocambeau had been the whole of his life, childhood, boyhood, young manhood; he was linked to it by the fibres of a generous nature. All those elderly anxious folk were his family. Many of the children, his contemporaries, trained in the circus, had flown heartlessly from the nest, and the elders had fatalistically lamented. Madame Rocambeau, bowed, wizened, of uncanny age, yet forceful and valiant to the last--carrying on for the old husband now lying paralysed in Paris who had inherited the circus from his father misty years ago, would say to the young man, when one of these defections occurred: "And you André, you are not going to leave us? You have a fine position, and if you are dissatisfied, perhaps we can come to an arrangement. You are a child of the circus and I love you like my own flesh and blood. We shall turn the corner yet. All that is necessary is faith--and a little youth." And Andrew, a simple soul, who had been trained in the virtues of honour and loyalty by the brave Ben Flint, would repudiate with indignation the suggestion of any selfish desire to go abroad and seek adventure.

At last, one afternoon, when the tent, a miserable gipsy thing compared with the proud pavilion of the days of the glory of Billy the pig, was pitched on the outskirts of a poor little town, they found Madame Rocambeau dead in the canvas box-office which she had occupied for fifty years, the heartbreaking receipts in front of her, counted out into little piles of bronze and small silver. The end had come. The circus could not be sold as a going concern. It crumbled away. Somebody bought the old horses, Heaven knows for what purpose. Somebody bought the antiquated harness and moth-eaten trappings. Somebody else bought the tents and fittings. But nobody bought the old careworn human beings, riders and gymnasts and stable hands who crept away into the bright free air of France, dazed and lost, like the prisoners released from the Bastille.